After a year plagued with uncertainty and closure, in a world forever changed by COVID-19, the community is working hard to adapt to the new normal. Due to the pandemic, the Academy had no choice but to cancel the annual Academy Opera last year. Professor Nancy Yuen, Head of Vocal Studies of the School of Music, says, “The Academy Opera has always been an annual highlight, so this year, we want to let our students display their talents and hard work on stage, in whatever form that might take.”
The fully staged opera presented in the Drama Theatre in March is an important annual interdisciplinary event. For some years in the past, thanks to Dr Helmut Sohmen and Dr Peter Thompson's generous sponsorship, world renowned conductors and directors took part in productions to enrich students' learning. Since last year's production, Falstaff, was cancelled, the Academy has become more prepared psychologically, technologically and pedagogically, even if the pandemic has not fully abated. The Academy has been doing its utmost to identify possibilities within the limitations, "The whole world needs to grapple with the pandemic problem. We can't do much, but every step ushers in new experiences. If we can't perform live, we can live-stream, or record and play back." Professor Yuen adds, "I am learning how to improve my online teaching using technology. This may sound like a purely technological problem, but in today's world, equipping ourselves with technological know-how is essential for better delivery in the performing arts."
The Fortunate Ones
This year's Academy Opera is Mozart's Idomeneo . The story begins with Ilia, Princess of Troy, falling in love with Idamante, son of the King of Crete. The historical and cultural contexts of an opera is a subject unto itself. Professor Yuen wants her students to be well-versed in the opera's underlying meanings and implications. "In-depth understanding of representative composers is immensely helpful to students' future performances and work."
The Bachelor of Music (Honours) degree programme of the School of Music offers majors in Chinese and Western instruments, vocal studies, conducting, composition and electronic music, among other areas. "Vocal studies is an undergraduate programme that covers courses in theory, history, language, etc, while performance constitutes a large proportion of the syllabus. Students have the chance to collaborate with the Academy Symphony Orchestra every semester – performing opera scenes to orchestral accompaniment in the first semester, and, in the second, taking part in a fully staged opera that features not only orchestral accompaniment but also bespoke costumes, stage designs, sets and props." Professor Yuen believes that students' performance opportunities at the Academy are enviable. "At many other music schools, only opera majors get to work with an orchestra. In the UK, there are five major music schools, each with over 300 vocal students. The Sichuan Conservatory of Music has over 1,000 vocal students. Obviously the opportunity for performance of each student is not high. That's why I always say our students are very lucky."
Striving for Excellence
Professor Yuen is an internationally renowned soprano. As a child, she loved singing and performing, but since Hong Kong did not have a vocal academy, she undertook secretarial studies at the Hong Kong Polytechnic after secondary school. However, Professor Yuen did not give up her passion, performing in an amateur capacity while she was studying. After graduation, she found regular employment so she could save money to study overseas. After three years' hard work, her wish finally came true when she was accepted into the Royal Academy of Music in London. Upon graduation, she landed the title role in the Welsh National Opera production of Madama Butterfly. The next two decades saw Professor Yuen in the UK playing leading roles in dozens of operas with various opera troupes, and performing all over the world. After marrying her Singaporean husband, she moved to Singapore and continued to perform, while becoming Head of Vocal Studies at the Nanyang Academy of Fine Arts in Singapore. In 2010, Professor Yuen returned to Hong Kong to assume the headship of Vocal Studies at the Academy.
From stage to classroom, Professor Yuen never once let go of her identity as a performer. "I have never stopped performing. This is important –to have mastered whatever I'm teaching students. Even in these unusual times, I still practise." She thinks singers and athletes have much in common. When in the spotlight, both need intense focus and to pour themselves into whatever they are doing. Hence while performing, Professor Yuen makes sure she gets enough sleep; she also drinks a lot of water and exercises as much as possible. Even when overseas, she sticks to her healthy diet and routine. "To keep myself in great psychological shape, I must be extremely self-disciplined. I can't be easily distracted. Some may think it's a sacrifice, but I don't look at it that way." Over the years, she has developed a strict lifestyle that works for her. In teaching, Professor Yuen gives equal attention to her students' physical and mental states. "Teaching is mentally demanding. Singing practice or performance, on the other hand, fills me with energy. That's how I strike a balance."
Professor Yuen values communication inside and outside the classroom. She likes to share her experiences with students and help them deal with their personal issues. "Singing has a direct connection with the body. If you are troubled by physical or mental stress over a long period of time, it will be reflected in your voice. Students come from different backgrounds; they have different strengths and weaknesses, as well as different personal issues to deal with. Some students are very confident; some highly insecure. I hope to bring out the best in each student. This is my daily challenge."
What Contributes to Success
Singers have always had their share of career challenges. Professor Yuen attributes half of a singer's success to talent, 40% to hard work, and the remaining 10% to luck. She humbly says she is one of the lucky ones who received a lot of help and encouragement on her artistic journey, and stresses the importance of good interpersonal relationships. However, she also points out that Hong Kong lacks a mature culture of vocal art, which hampers the development of young singers. "Hong Kong has quite a few geniuses – the students' performances speak for themselves. I am committed to ceaselessly nurturing future singers, and hopefully create an environment that lets them build careers out of performance."
Speaking from experience, Professor Yuen is of the view that every student has potential unknown to themselves; and a teacher's patience and systematic guidance can inspire and enlighten. "My experiences studying in Hong Kong and the UK in my youth were very different. The teachers in the UK would praise my strengths and show me how to be even better. Getting affirmation makes one happy. I always try to be encouraging, to raise students' self-confidence, and help them discover strengths in themselves that they may not even be aware of."
Potential is like a gemstone. Deeply embedded, it shines only when properly mined, cut and polished. The same may be said of both students and teachers. Last year, Professor Yuen directed Opera Hong Kong's The Marriage of Figaro and abridged versions of Così fan tutte Così x The Magic Flute to great acclaim. Both parties have plans to team up again this year. Directing is a new experience for Professor Yuen. "Directing requires you to take into account the interests of the whole production, from the actors to the lighting. How do you encourage young actors to express themselves on stage? How do you help them to give their best? These are things a director needs to consider." Unlike rigid nine-to five jobs with fixed procedures, the chemistry of a stage performance comes from the interaction between the participants. Professor Yuen calls this an "active challenge", one that entails joy and pain, but is always immensely rewarding.
(The article was published in the Mar 2021 issue of Academy News. Click here to read the original story.)